Patrick Peters

Make a date to catch this on the big screen and be rewarded with pure magic.

The fact that Miyazaki and his team hand-draw the images before they're digitally coloured and animated gives them an artistry that has been woefully lacking from so many recent American features.

It may lack subtlety, but everything is beautifully designed and photographed, Watling and Tosar are superb and it's undeniably great fun.

This barely conceivable story of neglect and loneliness is given heartbreaking new life by Morley, with Zawe Ashton standing in effectively for the tragic young singer.

Subtle and unflinching, this is genuine and charming.

Refocused on the hoof after the catastrophic 2014 earthquakes, Jennifer Peedom's film pulls no punches in exploring the culture and work of this unheralded group, as well as their frequent exploitation by Westerners.

An Oscar nominee at this year's Academy Awards and for good reason, Falardeau's film is moving, smart and sensitive. Terrific stuff, in short.

This reflection on isolation, technology, creativity and desire brilliantly blurs the lines between perception and voyeurism, the objective and the subjective.

Paced with steady assurance, this gentle bildungsroman is a impressive debut from director Daniel Patrick Carbone.

Uncompromisingly authentic, impeccably played and quietly compelling.

Slow-paced and self-indulgent in places but a bravely intense use of camera work to explore the internal psychology of the characters.

A brilliant musical that still looks fresh today.

The breakneck pace, the seething sense of menace and the unflinching attitude to sex, drugs and violence coagulate into a nastily authentic take on the seediness and venality of modern villainy.

Touching and funny. Waters fans should sign up now.

Making masterly use of sound and image, this is a desperately sad study of the difficulty people have to communicate and commit in an increasingly insular world.

A fascinating insight into the disparity between rich and poor, and powerful nations and their less muscle-flexing neighbours. And, unless you're a fish, it's also pretty darn scary.

Intimate, delicate and delightful.

Lovingly photographed in a monochrome that recalls Woody Allen’s Manhattan, this is a slickly scripted rom-com.

Like Spinal Tap's more seriously older brother, Jay Bulger's fond but unsparingly honest film is a treat for fans and music lovers. A juicy slice of rock history.

The tone is pseudo-Sopranos at times, but the oppressive ambience is grippingly sustained.

A welcome antidote to anodyne Hollywood cartooning.

Stealing the show is Suzanne Flon's immaculate display as the matriarch whose good-natured indulgence of her ghastly relations belies a guilty secret. Mercilessly acute and quietly devastating.

This arty approach may dismay hard-core horror fans, but it captures the dark grace of the original with wit and style.

A beautifully designed but overly formal biopic that can't match the greatness of the artists it depicts.

Both women are impeccably played by Maria Bonnevie.

A decent snapshot of pre-Beatle Britain, this is much more a fact-based gay melodrama than a trenchant portrait of Joe Orton's life, loves and art.

A compelling story told with Morris's usually flair. Still, hard not to think of it as a disappointment by the director's exalted standards and a missed opportunity to explore society's dysfunctional relationship with its media.

The structure similarly misses the flashbacking subtlety of the original. Even the characterisation lacks depth.